Since the dawn of the 78 record, the instrumental Yiddish folk music known as klezmer has seen its ups and downs. But thankfully, like the entire Jewish culture that fostered it, klezmer has persevered and along the way in... more &raquofluenced how some of us hear jazz, bluegrass, even comedy. Ignore the scratches and pops of the 78s, and you will hear why klezmer is a timeless yet progressive music, built upon improvisation. For its sheer diversity, this collection of early recorded klezmer--taken from the vast music library of Dr. Martin Schwartz--has no rivals. On the opening cut from 1923, Jacob Hoffman plays a furious xylophone solo; on 1916's "Yiddisch Chusedel," Max Leibowitz plays the fiddle backed only by the rock-steady rhythm of a piano; and Joseph Solinksi brings a thoroughly haunting violin solo to "Rumanische Fantasien (Part 1)" that doesn't sound at all like it came from 1911. Klezmer greats get their due props, too: tracks by Dave Tarras, Naftule Brandwein, and a handful of Abe Schwartz compositions give the compilation its backbone. As with most good klezmer tunes, there's joy to be found in this music, and sadness, too; but on this set, variety reigns supreme and steals the show. Absolutely essential for klezmer enthusiasts. --Jason Verlinde&laquo less

Synopsis

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Since the dawn of the 78 record, the instrumental Yiddish folk music known as klezmer has seen its ups and downs. But thankfully, like the entire Jewish culture that fostered it, klezmer has persevered and along the way influenced how some of us hear jazz, bluegrass, even comedy. Ignore the scratches and pops of the 78s, and you will hear why klezmer is a timeless yet progressive music, built upon improvisation. For its sheer diversity, this collection of early recorded klezmer--taken from the vast music library of Dr. Martin Schwartz--has no rivals. On the opening cut from 1923, Jacob Hoffman plays a furious xylophone solo; on 1916's "Yiddisch Chusedel," Max Leibowitz plays the fiddle backed only by the rock-steady rhythm of a piano; and Joseph Solinksi brings a thoroughly haunting violin solo to "Rumanische Fantasien (Part 1)" that doesn't sound at all like it came from 1911. Klezmer greats get their due props, too: tracks by Dave Tarras, Naftule Brandwein, and a handful of Abe Schwartz compositions give the compilation its backbone. As with most good klezmer tunes, there's joy to be found in this music, and sadness, too; but on this set, variety reigns supreme and steals the show. Absolutely essential for klezmer enthusiasts. --Jason Verlinde

CD Reviews

Excellent Source Recording

Stephen Saxon | Northern California | 07/25/2000

(5 out of 5 stars)

"This is a definite must if you want to learn klezmer from the old school (78's). This is the stuff most modern klezmer players go to in order to find material and learn how to play it authentically. There are also some really cool solos and players here."

Catchy and Heartfelt Music

K. Pinson | Boston, MA United States | 10/18/2007

(5 out of 5 stars)

"Many times I have purchased historical recordings of music to be disappointed with the educational but unlistenable species of ethnomusicology that thrived in old recordings. This, however, is a gem. There are many tunes here that will stay in your head and make you want to hum. The recordings are a little fuzzy due to their age, but the mastery of the musicians make it more than bearable. Abe Schwartz is the mensch!"

The Real Megillah

E. Beraru | Lynchburg, VA USA | 02/22/2007

(5 out of 5 stars)

"If you fell in love with klezmer in the 1970's and 1980's, listen to these original recordings that inspired the revival bands. They have done a good job of cleaning up the scratches of old 78's without leaving a hollow sound."

Old School Klezmer at Its Best

Record Fiend | Chicagoland Area | 05/11/2010

(5 out of 5 stars)

"Put aside your preconceived notions about klezmer because this superb collection ably demonstrates that this kind of music need not always sound like something from the soundtrack to Fiddler on the Roof, although certain tracks may very well conjure up images of shtetls in your head. "Klezmer Music" features Jewish musicians of mostly Eastern European origin performing material as diverse as the countries from which they came. Although often rooted in ancient Hebrew melodies, the music of the klezmorim (musicians) was greatly influenced by Slavic, Greek, Turkish, and Romanian music, a reflection of the migratory nature of Ashkenazi Jews during the 17th, 18th, and 19th centuries. The most fascinating thing Klezmer Music reveals is that, in many cases, Jewish instrumentalists were not just preserving their own musical heritage, but the musical heritage of other cultures as well. Recorded in both Europe and the US, this is passionate stuff - at times exuberant and at other times melancholy, but always coming directly from the heart, as all true folk music should.

The multicultural background of the first track, "Doina and Hora" sets the tone for this compilation. As Dr. Martin Schwartz's detailed booklet notes explain, a doina is an archaic pre-Roman improvisatory musical form that originated in Dacia (now part of modern-day Romania) noted for its "slow, intense, non-metrical" characteristics. Originally a rural style, the doina tradition was carried on by Jewish, Gypsy, and Greek musicians who resided and performed in cities during its heyday in the late 1800s and early 1900s. The second part of the recording features an uptempo hora intended for dancing. With Jacob Hoffman's impeccable xylophone playing and backing from Kandel's Orchestra, this piece covers a tremendous amount of musical territory in a mere three minutes. One of this disc's stars is violinist Abe Schwartz, who was originally from Romania and whose orchestra was the most prolific klezmer band of the 1910s and 1920s in terms of recordings. While magnificent sides such as "Mechutonim Tantz," the jolly "Der Shtiller Bulgar," and "Sher" serve as excellent examples of the virtuosity of the fiddler's ensemble, material such as the mesmerizing "National Hora Part II," a duet between Schwartz and his pianist daughter Sylvia, shows that he did not always have to play with a large group in order to produce an engaging performance. The other star on "Klezmer Music" is clarinetist Naftule Brandwine (or Brandwein), who hailed from Galicia, which is now divided between Poland and Ukraine. He and his orchestra create klezmer magic on "Kallarash," a record that is practically definitive for the genre and is my favorite track on this anthology. Brandwine alternately makes his clarinet sound like it's laughing or crying and at times conversing with the other instruments. His collaboration with Abe Schwartz's Orchestra on "Fihren die Mechutonim Aheim" is predictably excellent, and the translation of the similarly outstanding "Oi Tate, S'is Gut" says it all: "Oh, (heavenly) Father, it's good." Yes, it is. And so is "Turkische Yalle Very Uve," which has a title that indicates its western Anatolian origins.

This compilation also features tracks that spotlight the enchanting sound of the cimbalom, the Hungarian hammered dulcimer, on the driving "Sadigurer-Chisud." which pairs the appealing combination of Joseph Moskowitz on the aforementioned instrument and Max Yussim on piano, in addition to the haunting "Haneros Haluli" by H. Steiner (from 1909!) and equally atmospheric two-part "Doina" by S. Koch (from circa 1911!). Others outstanding sides include the raucous "Sirba" by Orchestra Orfeon and "Kleftico Vlachiko" (whose first part almost sounds like something from a Morricone-scored Spaghetti Western) by Orchestra Goldberg, both recorded in Istanbul, Turkey respectively in 1912 and 1908.

If you're looking for a first-rate introduction to old school klezmer, this is it."